Scherzo, "joke" in Italian. The counterpoint of supertonic harmonies eventually culminates in Elliott Carter's all-trichord hexachord. That famous Carter sound is here expressed as the ultimate supertonic harmony.
What is supertonic harmony? Basically, the floaty harmonies that keep one pleasantly lost until the arrival of the V7 chord.
"--astonishing....astounding arrangements" The New York Times
"--virtuosos in their own right, and together produce chamber music proper...close observance of each other's actions...a very tight performance." Fanfare Magazine, referring to Wm. Anderson & pianist Joan Forsyth
"--the alert guitarist" The New York Times
"--The mirror-paneled recital room provided an apt visual metaphor for how such seemingly modest dimensions can trick the ear into an impression of vaster scale. Guitarist William Anderson brought both technical and expressive virtuosity to his accounts...a quasi-orchestral pallete of coloristic effects...deftly realized by Anderson as he shaped each entry with epigrammatic concentration." Thomas May, The Washington Post
"--Electrifying" New York Times
William Anderson began playing chamber music at the Tanglewood Festival at age 19. He now plays solo recitals at guitar festivals and new music festivals in the US and abroad.
Anderson is dedicated to the work of living composers, and is working hard to shape the tone of 21st C. American music.
--Anderson has performed with many of New York City's finest ensembles, including the New York Philharmonic, the Chamber Music Society of Lincoln Center, the Metropolitan Opera Chamber Players, Sequitur, the Group for Contemporary Music, the Da Capo Chamber Players.
--He founded the Cygnus Ensemble in 1985. Cygnus has built a substantial repertoire of chamber music with plucked strings.
--As a composer and arranger Anderson was the first to use a multiply-partitioned array as an accompaniment to a 3-chord pop song (My Morphine--Welch/Anderson), This and other experiments in adapting modernist techniques to subversive, even populous ends, led Paul Griffiths, in the NY Times, to say:
“The mindful voice of Ives, of Stravinsky and of Mr. Wuorinen’s music would not seem to be implied much by such a song as “Night and Day,” but Mr. Anderson’s extraordinary arrangements of this and other numbers by Jerome Kern and Richard Rogers set them squarely and astonishingly in the same tradition...”
--Anderson is now working on the first in-depth critical study of Western plucked string music, entitled Einegezupfteweltanschauung (A Plucked Worldview). Portions of this work evolve gradually in connection with specific performances.
At age 19 he began playing chamber music at the Tanglewood Music Festival, where he performed from 1981 through 1988. In 1982 he began studying with America's premiere guitar pioneer David Starobin, who introduced him to the music community in New York City. His first solo recital was presented by the League of Composers/ISCM at Weill Hall, New York City (1990). He was also presented in recital by Music From Japan at the Asia Society (1993). He regularly appeared in Washinton D.C.with the Theater Chamber Players at the Kennedy Center, performing both solo guitar and chamber music repertoire. Mr. Anderson has been a soloist in festivals and ensembles such as the Bang on a Can Festival, the Brooklyn Philharmonic, and Modern Works! He has been heard on radio broadcasts on WNYC, WKCR, WGBH, and National Public Radio, Polish National Radio, Radio Bremen, and others.